singer.

Olympius had been his friend at the time when Karnis, on leaving college,
instead of devoting himself to business and accounts, as his father
wished, had thrown himself into the study of music, and at once
distinguished himself as a singer, lute-player and leader of heathen
choirs. Karnis was in Alexandria when the news reached him of his
father's death. Before quitting the city he married Herse, who was
beneath him alike in birth and in fortune, and who accompanied him on his
return to Tauromenium in Sicily, where he found himself the possessor of
an inheritance of which the extent and importance greatly astonished him.

At Alexandria he had been far better acquainted with the theatre than
with the Museum or the school of the Serapeum; nay, as an amateur, he had
often sung in the chorus there and acted as deputy for the regular
leader. The theatre in his native town of Tauromenium had also been a
famous one of old, but, at the time of his return, it had sunk to a very
low ebb. Most of the inhabitants of the beautiful city nestling at the
foot off Etna, had been converted to Christianity; among them the wealthy
citizens at whose cost the plays had been performed and the chorus
maintained. Small entertainments were still frequently given, but the
singers and actors had fallen off, and in that fine and spacious theatre
nothing was ever done at all worthy of its past glories. This Karnis
deeply regretted, and with his wonted energy and vigor he soon managed to
win the interest of those of his fellow-citizens who remained faithful to
the old gods and had still some feeling for the music and poetry of the
ancient Greeks, in his plans for their revival.

His purpose was to make the theatre the centre of a reaction against the
influence of the Christians, by vieing with the Church in its efforts to
win back the renegade heathen and confirming the faithful in their
adhesion. The Greeks of Tauromenium should be reminded from the
stage-boards of the might of the old gods and the glories of their past.
To this end it was needful to restore the ruined theatre, and Karnis,
after advancing the greater part of the money required, was entrusted
with the management. He devoted himself zealously to the task, and soon
was so successful that the plays at Tauromenium, and the musical
performances in its Odeum, attracted the citizens in crowds, and were
talked of far and wide. Such success was of course only purchased at a
heavy